https://www.sunfieldmusic.com/blogs/the-guitar-sun.atomSunfield Music - The Guitar Sun2018-02-17T20:49:00-05:00Sunfield Musichttps://www.sunfieldmusic.com/blogs/the-guitar-sun/old-school-pedal-users-a-primer2018-02-17T20:49:00-05:002018-02-17T21:02:03-05:00Old School Pedal Users: A PrimerJoshua DivineMore]]>
Thanks for reading the Guitar Sun, Sunfield Music Store’s weekly take on gear, music history, tone tips, and more.

At Sunfield, we take pride in producing instruments that keep the spirit of the electric guitar alive. For us, that means making high-quality instruments at prices accessible to gigging musicians and garage band virtuosos

In recent weeks, we’ve taken a look at some early history, exploring how the electric guitar emerged as a working man’s instrument with unprecedented versatility (check out Parts One and Two here). We’ve explored how different guitars became home to different musical personalities for Eric Clapton. We’ve also discussed how guitar-type doesn’t have to pigeonhole your sound.

These days, a different approach to versatility is becoming common: it’s not rare to see a kid with a cheap electric guitar, a beginner’s guitar, plugged into a $1000+ pedalboard. This trend can certainly go too far: at some point knob-twiddling gets in the way of learning how to make new sounds with your fingers and the guitar.

So, today we’re taking a look at classic uses of pedals—but not the ankle-level production studios of today’s player. We’re looking at how a few classic artists incorporated a few effects to help define the sounds of entire genres. It’s all part of the same tradition: these guys were using relatively cheap electronics to milk every sound they could imagine out of relatively cheap guitars.

Hendrix’s Fuzzy-Vibes

Our readers almost certainly don’t need a history lesson on Hendrix, who continues to exert influence on rock-blues players everywhere. Everything about his sound and approach was innovative, and it was all built on the still ubiquitous foundation of a Stratocaster into a Marshall.

As he crafted his vision for a more psychedelically-inflected blues rock, he also pioneered the use of effects pedals. First, and most famously, he milked the sound of a Vox wah-wah pedal like no one had before:

Clearing liking the sound of added movement in his notes, he melded the Vox with aggressive use of a Uni-Vibe, especially on albums like Electric Ladyland. The effect—a sort of swirling phase shift—was originally designed to sound like a Leslie rotary speaker. Hendrix’s use is especially apparent in “Machine Gun:”

Finally, we can’t move on from Hendrix without talking about Fuzz. He pioneered the effect that would come to dominate the sound of entire bands, milking unprecedentedly explosive tones from his Dallas Arbiter Fuzzface Pedal, which you can hear a stunning demo of here:

Pops Staples’ "Nervous Guitar"

Pops Staples represents the other end of the spectrum from Hendrix: an unduly forgotten great rather than a Rushmore of Rock statue. His own tone quest demonstrates that it wasn’t just harder rockers using pedals to find new sounds.

Pops “Roebuck” Staples (his brother was named “Sears”) is the quintessential gospel guitarist. He was the key instrumental backing for the Staples Singers—comprised of his daughters—as they charted a career as an all-time great gospel and soul group. His life was a fascinating story, and worth reading about in more detail.

Pops employed virtually every type of Fender single-coil over the course of his career, but there was one constant: tremolo. Standard on brown-face Fender amps for a few years, tremolo was one of the first widely available guitar effects. Adding a sense of ethereal movement to elegantly simple blues finger-picking, tremolo is all over classic Staples Singers recordings.

But Pops was “pop”ularizing this old-school effect even before Fender, utilizing the DeArmond 601 Tremolo unit. This was a “pre-pedal” effect and was designed to be set on top of an amp:

You can check out Pops in a rare solo performance below. Effects were still so unknown that many fans simply called the sound “Pops’ nervous guitar.” When flying to gigs (in later years using amps with built-in Tremolo) Pops himself would simply request “a Fender ’65 with a shake on it.”

Satisfying Sax?

We can’t discuss seminal pedal users without mentioning Keith Richards’ “Satisfaction” riff. Richards wrote the part while trying to come up with a horn arrangement. He likely would have forgotten it after he fell asleep, he claims, if not for a tape recorder that happened to be running. It’s hard to imagine rock and roll without this riff, however overplayed it may have become.

Interestingly, the sound was created using the first ever Fuzz pedal, a Maestro Fuzz Tone. The device was marketed as a way to make your guitar sound like a saxophone!

Screamin’ Stevie

Another classic combination we’d be remiss to leave out: SRV’s Tube-Screamer into a Fender Vibroverb. Silver-face amps like his Vibroverb are known for having a relatively scooped midrange. The Ibanez Tube screamer—which Stevie is selling by the bucket load to this day, RIP—provides a big mid-push to nudge this stereotypically clean amp into raunchy saturation. It’s a sound you can hear imitations of in bar-room blues bands all across the country today, making it easy to forget how this tone was innovative, even as it nodded to classic blues sounds, for its own time.

At Sunfield, we take pride in producing instruments that keep the spirit of the electric guitar alive. For us, that means making high-quality instruments at prices accessible to gigging musicians and garage band virtuosos

Last week, we took a swing at busting some guitar genre stereotypes. This week we’ll begin taking a slightly different angle, checking out artists who are famously associated with multiple guitar types. We want younger players looking for a beginner’s guitar to understand that picking a guitar doesn’t mean locking into some sort of eternal musical identity. Not every player loves every guitar type, but, as most Sunfield customers know, it’s a lot more fun to just own dozens of different guitars!

***

Before we get started, we have to include one final show of “versatility” that goes way beyond mere genre.

If you need proof that many legendary artists treat their instruments like cheap guitars—working men’s guitars—check out the video of Keith Richards below. In this 1981 live cut of “(I Can’t Get No) Satisfaction,” Keith is forced to use his Telecaster as a weapon. Skip to around 1:10—an audience member rushes the stage, Keith unstraps his Tele and takes a mighty swing with the single-coiled beast—before slinging it back on to continue with the song. Does it get more rock and roll than this?

Clearly, it’s not just beginners' guitars that should be “priced for self-defense!”

Eric Clapton comes in as our first “alter ego” player. Indeed, his guitar choices line up nicely with the stylistic shifts that divide so many Clapton fans. Mr. Clapton first emerged on the 1960’s British guitar scene as a member of The Yardbirds. They’re a member of the Rock and Roll Hall of Fame, but for those readers not familiar, this formative rock group featured an astounding succession of lead guitarists: Eric Clapton was replaced by Jimmy Page, who was replaced by Jeff Beck. That’ll do. Check them out (with Beck and Page) below:

By 1965, Clapton was having trouble stretching out his burgeoning blues chops in the Yardbirds. He moved out to John Mayall’s Bluesbreakers, where he would collaborate to create the legendary Beano (formally titled “Blues Breakers with Eric Clapton”) album in 1966. It was this work, including fiery covers of American blues classics like Freddie King’s “Hideaway,” that would take Clapton’s reputation for guitar virtuosity to a whole other level.

In this era, his sound is defined by the thick, crunchy, richly sustaining leads of a ’59 Les Paul into an early Marshall (his Yardbird Days featured a Tele into Vox AC30).

It was this tone that inspired this legendary graffiti in a London underground station:

We all know that today, guitar is a polytheistic religion—but Clapton may have been the first to be proclaimed a “Guitar God.” This recognition may be almost as rock and roll as using a Tele as a bat. Almost.

Interestingly, the guitar was stolen shortly after the group completed the album session, becoming one of the true “lost legends” from guitar history. Although, just last year, Joe Bonamossa claimed to know of its secret location in a private collection somewhere on the East Coast of the United States.

From God to Fool

Clapton’s move to Cream was part of a broader shift in early British rock and roll. As this new generation of brilliant players became increasingly savvy and confident, they moved beyond crunching on American blues classics and began exploring more innovative sonic territory.

His old Les Paul stolen, Clapton moved on to Gibson’s newest solid-body electric model, the SG. Rumors persist that Clapton received his SG from the Beatles’ George Harrison, which he had used on recordings like “Day Tripper.” Sunfield Music Store’s research, however, suggests that neither Clapton nor Harrison has ever confirmed this rumor to be the case.

Either way, Clapton not only acquired an SG, but hired two Dutch Artists who specialized in psychedelia to personalize it. The guitar emerged with an iconic look, an even more iconic sound, and a great name: the Fool. “The Fool,” was, in fact, the stylized name of the artists who created the design.

With his Fool in hand, Clapton would do everything from craft the “woman tone” from its creamy (pardon the pun) neck pickup to one of the great iconic rock riffs in “Sunshine of Your Love.” You can actually check out Eric using the fool to explain the fundamentals of guitar tone below (starts around 0:25). And all that in a group that only existed for 28 months.

But two iconic guitar sounds weren’t enough for Clapton. As the British Rock sound grew more and more ostentatious (eventually birthing proto-metal groups like Deep Purple), Clapton began craving the sweet simplicity of country blues. He found inspiration in the last place we might have expected for a vintage British rocker: a little known Oklahoma country-blues player named J.J. Cale.

Cale (who may be this author’s all-time favorite player), featured a sound from the opposite end of the tonal spectrum: Stratocasters into small Fender Tweed amps. His sound, which can be heard on Cale originals like “Cocaine” and “After Midnight,” became the clear inspiration for Clapton’s next phase. Check out Cale playing with fellow Oklahoma legend Leon Russell below:

Hardcore rock fans tend to bemoan Clapton’s shift from psychedelic blues-god to soft-blues picker. But Clapton fans can at least compromise on accepting this final Clapton rig: it was used, alongside Duane Allman’s Les Paul, to create the legendary Layla and Other Assorted Love Songs.

We leave with you with this epic jam of Hendrix’s “Little Wing,” performed in 2009 by Clapton with Duane Allman’s surviving musical family.

Thanks for reading!

Next week, we’ll take a look at the guitar alter-egos of another all-time great.

At Sunfield, we take pride in producing instruments that keep the spirit of the electric guitar alive. For us, that means making high-quality instruments at prices accessible to gigging musicians and garage band virtuosos

We love guitars that shatter stereotypes and help artists establish a distinctive musical identity. Indeed, our Diamond Series Prince Cloud and SRV Series—both dripping unique character—are two of our top selling models.

But more traditional guitar styles can be used to break out of the mold, too. Today, we take a look at guitars stereotyped for certain genres that have gone on to far more versatile uses.

Round Peg, Round Hole?

When a middle-school kid sets out to buy a beginner’s electric guitar and does a little Googling about what he should pick, he’s almost sure to run into a series of incredibly persistent stereotypes.

We all know them—they dominate the way much of the guitar market thinks: Teles are for country and roots rock. Strats are for blues and funk. Les Pauls and SG’s are for rock and roll. Jazz players need a nice archtop. And so on.

Of course, there are real tonal characteristics that inform these stereotypes. A Les Paul really will struggle to quack like a strat. A warm-toned archtop can’t channel a telecaster’s piercing bridge pickup tones (at least without a treble booster).

But many players—from the very beginning to today—continue to prove that it’s mind over matter when it comes to using different sounds for a given genre. In today’s Guitar Sun, we take a look at just a few players who crafted genre-defining tones with guitars we might not expect.

Telecasting is for Country?

Our middle school kid walks into the guitar store and tells the clerk he needs a cheap guitar and likes country music, maybe some classic rock.

Do we have any doubt what type of guitar he’ll be pointed to? The Telecaster guitar style has perhaps a stronger bond with country than any other single guitar and genre.

As we discussed last week, local country musicians couldn’t even keep their hands off Leo Fender's new solid-body design, even in its earliest prototype stages. It let them cop the bright sounds of the lap steel and largely take over its role as a lead instrument.

But some high-profile country musicians have managed to use guitars besides Teles. And, on the other side of the coin, Teles have delivered iconic tones that extend well beyond their down-home sonic roots.

It goes without saying that much of modern, mainstream country has adopted a modern, gain-laden sound, often employing humbucker guitars into Marshall-style amps—about as far from Tele twang as one can get. In a slightly different direction, last week on SNL, Chris Stapleton busted out his usual Jazzmaster playing next to the (Tele-packing) Sturgill Simpson.

But some country artists managed to break out of the mold far earlier. In fact, Chet Atkins—father of the “Nashville” sound that came to define mainstream country music—never favored a Fender. Maintaining a decades-long relationship with Gretsch Guitars, Atkins was a widely acknowledged technical master with a signature sound. Check out his intricate rhythm + melody fingerpicking style below.

Meanwhile, Telecaster users are capable of fantastic higher gain sounds that land far away from the traditional country tonal spectrum. While Led Zeppelin’s Jimmy Page was closely associated with Les Pauls during his peak touring years, many of their formative rock recordings in fact feature a Telecaster. Which tracks? Try, for starters, all of the original 1969 Led Zeppelin album (including Communication Breakdown and Dazed & Confused)—as Page himself confirms in this interview. He used a borrowed Flying V on a single track.

Playing with a violin bow works, too.

Jazz Box Required?

If the same kid walks into the guitar store wanting to play jazz, he’s probably not getting handed a Fender.

Ever since Charlie Christian took lead guitar to the mainstream with his ES guitars, Jazz players have largely stuck to the archtop stereotype. While Les Pauls and other humbucking guitars can approximate the warm, dark tones of an archtop, the aesthetic association between traditional jazz and archtops is incredibly strong.

Nevertheless, many legendary players have built their reputations crafting jazz sounds with solid-body guitars that are said to be “too bright” for jazz work. Contemporary jazz legend Bill Frisell is famous for preferring a Telecaster:

The Telecaster neck pickup has a warm, organic sound that can seem at home in a jazz context. But what about the Stratocaster, famously trebly even in the neck position? It’s amazing what tone controls can do:

No Limits

The story here isn’t that these stereotypes are utter hogwash. We doubt country players will ever abandon their Telecasters. And a new generation of John Mayer acolytes seems set to defend the Stratocaster’s dominance in “soft blues” for another couple decades.

The story is simple: playing guitar is about finding an instrument and playing whatever you want. It's not about following rules set by previous generations.

When that middle school kid walks into the guitar store and asks what he should buy, we think the best answer is “whatever sounds awesome.” We hope to see another generation of guitarists shatter stereotypes with Sunfield guitars in-hand. Who knows, maybe in a hundred years heavy metal will be bound at the hip to this beast:

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/how-the-working-man-s-guitar-became-a-dominant-force-in-popular-music-part-two2018-01-26T14:20:00-05:002018-01-27T14:04:56-05:00How the Working Man’s Guitar Became a Dominant Force in Popular Music—Part TwoJoshua DivineMore]]>
Thanks for reading the Guitar Sun, Sunfield Music Store’s weekly take on gear, music history, tone tips, and more.

At Sunfield, we take pride in producing instruments that keep the spirit of the electric guitar alive. For us, that means making high-quality instruments at prices accessible to gigging musicians and garage band virtuosos

The electric guitar was never supposed to be a fashion statement that hangs on the walls of a lawyer’s office. They were built as music machines with unprecedented volume projection, versatility, and reliability in a wide variety of playing contexts. They were built to establish prestige through playing, not through collectability.

These deeply practical roots aren't just handy for a marketing slogan—they're a matter of history.

Music would never be the same. For the first time ever, the guitar had the volume to project over saxophones and trumpets—and to fill auditoriums.

As we noted last week, these early electrics were still very rough by today’s standards. Heavy feedback and inconsistent string to string volume were the norm as the electric guitar awaited a second generation of engineering geniuses to perfect its design.

Before we dive into the details of the impending sonic revolution, let’s pause for a moment to consider how out there these music machines were in their own time. Who’s to say that sound made from strapping a magnet under guitar strings will make a pleasant sound at all, much less sound resembling a guitar?

Meanwhile, the entire tonal premise of the acoustic guitar lies in the resonance of its hollow body. Imagine yourself as a guitar player in the 1940’s; your radio tech buddy is impressed with your ES-150. He suggests strapping similar pickups to a block of wood with no hollow at all. How easy would it have been to laugh him out of the room? Yet a crazy idea that for what then would have felt like a laughably cheap guitar would change the instrument forever.

Suffice it to say, Leo Fender, Les Paul, and other progenitors of the solid body electric guitar were laughed out of a few music stores trying to pitch their futuristic new tone slabs. As we all know, they had the last laugh.

Birth of the Greatest (Guitar) Generation

Within 20 years of Charlie Christian’s death in 1942, the collection of basic electric guitar designs that dominate the market to this day were in production. This engineering feat can’t be lauded enough. Imagine if a 1952 Chevrolet was still one of the most popular cars on the road.

The solid body concept wasn’t totally without precedent. Early electric lap steels were solid body, and they proved the workability of the design. Rickenbacker, along with a few other companies, issued limited runs of solid-body electric guitars starting in 1935, but they never caught on commercially.

While the solid body waited until around 1950 to take off, it had sprouted in the imaginations of a new generation of guitar masterminds far earlier.

Les Paul is truly an all-time gearhead. In addition to being one of the earliest independent inventors of multitrack recording, he pioneered the use of tape delay and phasing in the studio. You may also have heard of his electric guitar design. Add one more accomplishment to his record: he rigged himself up an early electric at the age of 12.

A 12-year-old Les Paul strapped the pickup needle from his parents’ phonograph directly to the neck of his acoustic and wired it to a telephone mouthpiece, which he jammed under the strings. He wired this contraption to the radio amplifier. It worked, but the feedback was unbearable. So, naturally, he filled his guitar with plaster of Paris. At the age of 12, he had arrived at the fundamental insight that would drive he and Leo Fender to create the “greatest generation” of electric guitars: you can minimize microphonic feedback by minimizing the vibrations of the pickups themselves.

Within a few years, he was tinkering with his “log” design: a solid 4x4 plank mounting the pickups and neck, with chambered f-hole wings attached to the sides—mostly for the good of an audience accustomed to beautiful jazz archtops.

Gibson’s ES-150/250 and other early designs were created almost purely with the practical concern of volume in mind. But when tinkering with the log, Les Paul was—really for the first time—interested in the unique tonal properties of an electrified solid body instrument. His instincts, honed by years of tinkering, told him that a solid-bodied instrument could be brighter and clearer than ever before. And it even had a tremolo!

Paul shopped his log design around to the guitar makers of his day—including Gibson—in the late 1930’s. But they didn’t see a market.

Glorious Tone—Mass Produced

World War Two put a damper on instrument manufacturing as the nation’s industrial capacity (particularly for electronic components) was focused squarely on the war effort. However, the war also contributed the final ingredient necessary for the coming solid body revolution: a broad awareness of mass production manufacturing techniques.

Make no mistake, when Leo Fender drew up the designs for the first commercially successful solid-body electric guitars in history, he was doing it with mass production in mind. That fact shouldn’t ruin the romance of these designs. In fact, the reality that they were designed to make music-making more accessible than ever before is the romance of this great working man’s instrument.

Country legend Merle Travis, working with Paul Bigsby (of the famous tremolo-bridge design), came up with a guitar with many of the features that Fender would popularize. Note, in the image below: the cutaway, the tuners on one side of the headstock, and the aluminum alloy bridge. Unlike the ES series, the pickup is bridge mounted—now emphasizing rather than trying to hide the bright tone inherent to the electric guitar. It still featured a set neck design.

With beautiful inlays, it was a stunning piece of workmanship, but the Travis-Bigsby electric was never mass produced, with only a few dozen ever made.

Leo Fender set out not just to build a bright, clear-sounding instrument, but a cheap guitar that could be mass produced like never before. If magnets and a solid-body had begun separating the electric guitar from the acoustic as an instrument, the bolt-on neck finished the job.

From his radio repair shop, Leo Fender had been scheming about a solid-body design since the early 1940’s. Joined by designer George Fullerton, Fender had the prototype for what would become the Telecaster completed (pictured below) by 1949. In a hint of its coming success, the prototype was frequently lent out to local Southern California country musicians, beginning a love affair between country music and T-style guitars that lasts to this day.

Esquire Prototype

Released widely in 1950, the Fender Esquire featured only a bridge pickup. The design still had some serious flaws. It lacked a truss rod completely, and many of the original Esquires were returned with bent necks. Fewer than 50 Esquires were made when, later that year the “Broadcaster” emerged as a replacement for the Esquire—now featuring a chrome covered neck pickup. Fender was famously sued by the Gretsch company (who would later create some famous guitars of their own), who produced a “Broadkaster” drum kit.

After a brief run (around 500) of Broadcaster-style guitars with no name at all (the “Nocaster”), the Telecaster name was coined in summer, 1951. With a truss rod added shortly thereafter, the fundamentals of the solid body guitar designs that dominate until this day were all there.

Interestingly, even after perfecting the Telecaster design, Leo Fender was intent on offering a cheap guitar, a beginner’s guitar, at the lowest price possible. So he re-released the Esquire in 1951. Arriving with only a bridge pickup to minimize cost, these later Esquires still had a neck pickup cavity hidden under the pickguard—Leo was envisioning beginners upgrading by swapping out the pickguard. Cheap, mod-ready guitars were vital to Leo Fender’s vision from the very beginning.

Once the Telecaster was fully formed, the rest of the designs that would define the sonic landscape for rock and roll fell into place relatively quickly. Later in 1951, Fender came out with the P-Bass (then shaped like a Telecaster), the first commercially successful solid-body electric bass

Shocked by the commercial success of the Telecaster, Gibson reconsidered Les Paul’s vision and hired him in 1952—his original Les Paul model (gold with P-90 pickups) came out later the same year. In 1954, Fender announced what it intended as a permanent replacement to the old Telecaster design: the Stratocaster.

Stay tuned to the Guitar Sun as we keep working to keep the spirit of the music alive at Sunfield!

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/the-guitar-sun-january-18-20182018-01-19T10:40:00-05:002018-01-27T14:05:41-05:00How the Working Man’s Guitar Became a Dominant Force in Music—Part OneJoshua Divine
Imagine the scene, as the soul of the electric guitar burst onto the national stage. A white bandleader of one of the most buttoned-up jazz outfits in the nation brought on an African-American country boy from Oklahoma, playing an instrument most people had never heard of.

Thanks for reading The Guitar Sun, Sunfield Music's weekly take on gear, music history, tone tips, and more.

At Sunfield Guitars, we take pride in producing instruments that keep the spirit of the electric guitar alive. For us, that means making high-quality instruments at prices accessible to gigging musicians and garage band virtuosos.

The electric guitar was never supposed to be a fashion statement that hangs on the walls of a lawyer’s office. They were built as music machines with unprecedented volume projection, versatility, and reliability in a wide variety of playing contexts. They were built to establish prestige through playing, not through collectability.

These deeply practical roots aren't just handy for a marketing slogan—they're a matter of history.

Volume, Volume, Volume

When modern players select pickups for their electric guitar, they’re doing so with a broad range of factors in mind--from clean tonality to overdriven characteristics, to output level. But the original guitar pickups were chosen with a far simpler goal in mind: stage volume.

In the early 20th century, the guitar was a successful instrument in the United States, but it didn’t possess anything close to its modern perch in popular music consciousness. While a popular living-room and street-corner folk instrument, the acoustic guitar was confined to background rhythm in public performance contexts.

Why?

The "Mandolin Orchestra" was one of many unsuccessful attempts to solve the volume problem.

In a world without quality PA systems (or, often, without PA systems at all), the acoustic guitar simply cannot compete with the volume output of big band and jazz instruments like the trumpet, trombone, drums, and even clarinet. While strummed chords can just be heard in the rhythmic mix, unamplified acoustic guitar lead lines are simply not audible outside of the smallest performance venues and quietest bands. The guitar appeared destined to sit alongside the banjo and mandolin as a popular niche instrument.

And, even as a rhythm instrument, the guitar was distinctly overshadowed by the piano in the blues and jazz bands of this era.

In 1935, Gibson, already famous for it acoustic instruments, commissioned what would become the first ever under-string electromagnetic pickup for the electric guitar. This bar-style pickup sports a hexagonal shape. Though still aimed squarely at the lap-steel market, it was designed to be attachable as an accessory to an acoustic guitar. And it would be used by Charlie Christian to put the electric guitar on the launching pad to the stratosphere.

Mr. Christian was not the first musician to ever utilize the electric guitar. But by demonstrating its potential as a jazz soloist’s instrument, he set the electrified guitar on the path to becoming a featured instrument. Electricity put the guitar in a fair fight with the trumpet and saxophone.

Charlie Christian was a jazz musician who emerged on Oklahoma City’s vibrant 1930’s music scene. Even as it was slammed by the famous “dust bowl,” Oklahoma produced a legendary crop of musicians who would provide the foundations for much of the century’s music: Bob Wills' orchestra for country, Count Basie for Jazz, and T-Bone Walker for Blues.

While Rickenbacker and other companies had produced extremely limited runs of electric “Spanish Guitars” (this shape and size was just starting to become the default for the guitar), Gibson produced the first commercially successful electric guitar with its ES-150 model (the ES stood for “Electric Spanish”). Charlie Christian picked up his first ES-150 in 1936, and he never looked back.

An early advertisement for the ES-150, with Amp (then billed as a "Tone Generator").

Birth of a Tone Monster

Featuring a new-fangled tone control, the ES-150 was an unprecedently versatile instrument that had the volume and clarity to compete with brass in a jazz band. That said, the technology was far from perfect. The pickups didn’t yet have separate pole pieces for each string—creating wildly inconsistent string-to-string volume. In fact, the ES-250 would try to improve by cutting a notch in the pickup under the B-string, which was wildly louder than the other strings.

These innovative bar pickups were also totally unshielded, resulting in single-coil hum like you wouldn’t believe. But it was enough for Charlie Christian to breath some unprecedented life into the soul of the guitar.

John Hammond, a legendary talent scout, heard Christian in Oklahoma in 1939. He was blown away and arranged for Christian to audition for bandleader Benny Goodman. It was a long shot: Goodman led perhaps the most respected jazz band in the nation. And he was famous for his distaste for guitar players; he didn’t think their acoustic comping sat well in the jazz mix.

But Goodman was an innovator, and he had already been instrumental in pioneering racially integrated jazz music. He knew talent when he heard it. And he heard Christian’s talent right away—talent channeled through magnets and amplifier.

Imagine the scene, as the soul of the electric guitar burst onto the national stage. A white bandleader of one of the most buttoned-up jazz outfits in the nation brought on an African-American country boy from Oklahoma, playing an instrument most people had never heard of.

Christian was offered a spot in Goodman’s band and would play as a featured soloist from 1939-42 before he died—at the age of 25—from tuberculosis. Despite Charlie's tragically young death, the experiment was a smashing success. Christian introduced an entire new soloing vocabulary to jazz—and delivered it in smooth electric tones that were unlike anything anyone had ever heard.

Like other early guitar legends like Robert Johnson, no footage of Charlie Christian playing the electric guitar exists. But you can check out his playing in the recording below, and hear a trailblazer setting the stage for decades of stunning guitar music.

With guitars in hand, a new generation of working men from places like Oklahoma was ready to pick up Christian left off.

Charlie Christian was a revolutionary even in his own time, despite dying at a young age. But even he could never have guessed what a force the electric guitar would become.

Next week, we’ll take a look at the birth of the solid-body, and the electric guitar’s ascent to glory.

Stay tuned to the Guitar Sun as we keep working to keep the spirit of the music alive at Sunfield!

Detail of a guitarist photographed playing a PRS electric guitar for a feature on speed playing, taken on February 17, 2015. (Photo by Joseph Branston via Getty Images)

Jimmy Page. Jack White. Jimi Hendrix: some of the music world’s greatest ever axe-shredders (and that’s only the Js). Fundamental to a band’s sound, the guitarist can make or break a record and – if they’re really something special – they can deliver a solo that elevates it to heights previously unimagined. As it’s World Guitar Day, we’re celebrating those in the latter camp, who only needed six strings to change the world.

50 Babe Ruth – ‘The Mexican’

“This song is literally one very long solo. Alan Shacklock is spraying duelling solos all over the this sexy jam without looking over his shoulder once! That’s a pretty impressive feet considering the track is nearly 6 minutes long. I mean, the solos aren’t going to melt any faces, but you know, they don’t always have to.”

49 Kansas – ‘Carry On My Wayward Son’

The track is a golden rock monolith, full of prog-esque bombast and fittingly Kerry Livgren’s solo doesn’t pull any punches. Instead he brilliantly executes all of the classic guitar techniques in one: the slide, the bend and the vibrato.

48 Suede ‘Animal Nitrate’

Unlike their Britpop contemporaries, Suede never shied away from guitar solo bombast. Bernard Butler complemented Johnny Marr as he mirrored the urban isolation of the track on his Les Paul, picking away at the sad minor chord threads. Beautiful stuff.

47 Rage Against The Machine – ‘Bulls On Parade’

Rage Against The Machine’s second album might have had nothing on their jaw-dropping debut but it had a few moments of genius, and Tom Morello’s squeaky, squawky fretboard abuse a few minutes into ‘Evil Empire’’s second track was probably the entire LP’s high water mark. Try air guitaring to that bizarre squiggle; it would give the makers ofGuitar Heroa heart attack.

46 The White Stripes – ‘Ball And Biscuit’

“Jack is an absolute genius. He never plays the same thing twice throughout this song, and the high solo parts are absolutelybrutal. Like he’skillingthe blues. Also, the moment where after five minutes, you hear him say ‘yeh well err, d’ya get the point now?‘ then he plays for another three minutes is basically the coolest thing to ever happen.”

45 Prince – ‘I Could Never Take The Place Of Your Man’

“This is a perfect example of a guitar solo that you can sing along with. I think any good guitar solo should do that. Also this song is incredible. People think of Prince as this prolific genius wearing pink lace and thongs, etc.. which is true (and awesome) but he is also an incredible guitarist. I think he could put most ofRolling Stone‘s top 100 guitar players to shame in his sleep.”

43 Electric Prunes – ‘Holy Are You’

“That one sounds like you should be in front of a huge architectural masterpiece, like a church or a cathedral, and you should be on tons of acid, playing along.”

42 Dinosaur Jr – ‘Get Me’

J Mascis is a relatively underappreciated guitar hero, but his technical ability cannot be doubted. Taken from the band’s fifth album ‘Where You Been’, this solo is a blistering amalgam of 70s rock influences (especially Neil Young) and My Bloody Valentine’s Kevin Shields. A peak in a career of sonic highs.

41 Smashing Pumpkins – ‘Soma’

“My personal favourite guitar solo would be by Billy Corgan of the Smashing Pumpkins from the song ‘Soma’. It’s a perfect combination of melody, noise and technique by one of the most underrated lead players in modern rock music. There are so many haunting bends in this solo that show off what a unique and creative guitarist Billy Corgan is.”

40 Thin Lizzy – ‘Roisin Dubh (Black Rose)’

“There’s about five or six top class guitar solos in this song, while most bands can’t even do one. You can sing along to them all, too; they aren’t all ‘look how fast I can move my fingers on this piece of wood with wires attached to it’ ones.”

39 Bad Brains – ‘Banned In DC’

“I don’t know about an all-time favourite, but Bad Brains’ ‘Banned in DC’ has to be in my Top Five. There’s something so unique and melancholic about it.”

38 Blur – ‘Coffee And TV’

As fine an example of an anti-guitar solo as you’ll hear anywhere – just a string of discordant notes, building to a storm of haywire string-bending. You don’t have to widdle away like Eddie Van Halen to carve out a truly memorable solo.

38 Weezer – ‘Buddy Holly’

The hook may have gone “Ooo-wee-ooo,” and the video may have been an eye catchingHappy Daystribute, but that didn’t detract from River Cuomo’s short-but-to-the-point solo, which ticked all the boxes of an ‘instant classic’.

37 Joan Jett And The Blackhearts – ‘I Love Rock N Roll’

She’d already earned her stripes with The Runaways, but the glam stomp through the Arrows track made her a bonafide international star. Ricky Byrd’s solo takes the riff of the song and pitches it harmonically upward, striking all the right, leather jacketed notes.

36 Prince – ‘Purple Rain’

It began with Prince attempting to write a crossover song in the style of Bob Seger for Stevie Nicks. It ended with his defining anthem. The solo took him to a whole other audience – it was part Hendrix freakout and part country-rock jam. He wouldn’t be known as just ‘a pop star’ ever again.

35 Santana – ‘Soul Sacrifice’

It’s almost hard to remember now, thanks to all the Steve Tyler and Dave Matthews collaborations and the torrent of shit that’s flown from his fretboard over the last few years, but back in the 70s Santana was a guitar god. This solo doesn’t wait for an introduction after the verse and chorus have had their say, it’s present throughout, and the performance at Woodstock is a work of art.

34 AC/DC – ‘Let There Be Rock’

AC/DC, as ever, know how to do it properly. Start with a riff, the kind of riff most bands would give both their balls for (but which comes naturally to you), drop it down to snare drum and bass, then unleash one of the wildest slabs of guitar chaos in rock and roll. Playing it while stomping around the stage topless and making sex faces just makes it all the better.

33 Television – ‘Venus’

Tom Verlaine is very much the ‘anti guitar player’, always distancing his work from the conventionalSchool Of Rockguitar-isms (see for example his ‘no distortion’ policy). On ‘Marquee Moon”s Venus, Verlaine and Richard Lloyd unpick the song’s counter melody with the sparseness of true pioneers. In a field of show-offs, Television showed us that less can be more.

32 Cream – ‘Crossroads’

Eric Clapton may or may not be God (the celestial guitar jury’s still out on that one), but he knew his way around a Gibson SG. And Cream’s calling card took less than 90 seconds to make way for his fretboard wankery. Ginger Baker and Jack Bruce provide a rock solid rhythm but it’s the bursts of guitar that make this track.

31 The Libertines – ‘Time For Heroes’

There’s not many truly great guitar solos from the last ten years – synths and samples seem to have superceded the traditional axe meander – but the Libs always knew how to do it old school. As chaotic and unpredictable as the song, and indeed the band, this short, sharp shock sees their fretwork at its finest.

30 The Rolling Stones – ‘Sway’

“There is something dramatic about Mick Taylor’s guitar solo. The way he plays it with a magnificent presence of measured, confident, authoritative youth but with a militaristic manner, which lends an extraordinary gravity to the song. I see the band through the song as a gang of mathematicians huddled round a problem, all with solemn faces, each fearlessly throwing forth their own take on where the solution may lie. This guitar solo always resonated with me because it carried the passion so profoundly it inspired me to play the guitar.”

29 Van Halen – ‘Eruption’

Often stuck in the Top Ten in these polls, we’ve shifted it down a peg or two because let’s face it, it’s a bit crass, really. However, if it’s unrelenting, shameless, show-off frantic fingerwork you’re after, this is the one. 100 seconds of axe worship and little else. Originally played by Eddie Van Halen on his own creation, the Frankenstat.

28 The Strokes – ‘Last Nite’

“This made learning the guitar fun again when I was 11. Everyone can sing it still today. It’s not complicated for the sake of being complicated.”

Proving that a great guitar solo doesn’t always need to rely on the number of notes you can cram into a bar, this Eric Clapton contribution to a Beatles track that Harrison initially wasn’t happy with is a masterpiece of understated fretwork. It really does speak for itself, this one.

26 Lynyrd Skynyrd – ‘Free Bird’

The first rule of guitar solo lists is that ‘Free Bird’ must make an appearance. For us, it’s midway through the 50. You wait four or five minutes for the shredding to commence and then it’s one long multi guitar freestyle that goes on for five, ten or fifteen minutes depending on the version. Rednecks and mostly dead they may be, but Skynyrd knew their way round a solo.

25 Led Zeppelin – ‘Since I’ve Been Loving You’

“Jimmy Page really shows himself in this song. The subtleties at the start are replaced with ferocious runs towards the end. The dog’s bollocks of solos.”

24 Thin Lizzy – ‘The Boys Are Back In Town’

A classic riff doesn’t just stand alone. It needs a great song, vocal and a massive solo to support it. Well ‘TBABIT’ had two. The ‘twin guitar solo’ from Scott Gorham and Brian Robertson pushes the track over the top, making it an axe classic.

23 The Strokes – ‘Reptilia’

Nick Valensi’s guitar solo here is a thing of spidery beauty, climbing over the formidable combo of Fab Moretti’s drums and Nikolai Fraiture’s bass with mammoth new wave power. Perhaps the most ‘Strokesian’ track they ever recorded.

22 Guns N’ Roses – ‘November Rain’

“This was a tough one, but I’m going to have to pick ‘November Rain’ by Guns N’ Roses, which features one of the first guitar solos I ever tried to learn. We have history together so it hits me a different way than most, still, until this day.”

21 Radiohead – ‘Just’

“The Greenwood. Like being smashed in the face with a bucket of rabid razor blade wielding ejaculating crabs.”

20 Stone Roses – ‘I Am The Resurrection’

Memorably described as “more like the eternal crucifix” in the pages of NME, John Squire’s solo tunnelled into the eight minute plus ‘…Resurection’ like a massive rave-guitar lighthouse of sheer power.

19 Muse – ‘Stockholm Syndrome’

We could try and take Matt Bellamy’s guitar masterclass but we still wouldn’t have a clue how he does it. ‘SS’ is a case in point; he makes his guitar sound like a rocket ship, cruising and crushing into a million different shapes at once.

18 Queen – ‘Bohemian Rhapsody’

“It’s just the best thing. I don’t think it could ever be duplicated quite as perfectly because Brian May has such a unique style of playing. And he does it all with a sixpence coin!”

17 Michael Jackson – ‘Beat It’

Smoother than a moonwalk, Eddie Van Halen ripped ‘Beat It’ a new one, giving it all the bawdy street anger that MJ’s vocal didn’t have.

16 The Eagles – ‘Hotel California’

“I love this guitar solo. It’s an eyes closed, eyebrows up classic. Like duelling banjos but with guitars, laid back Californians and less congenital deformity. It gets overlooked because it’s not part of a ‘rock’ track but that only enhances its effect, replacing pomposity with glorious loops of finger picking cool. Eat that grebos.”

15 Led Zeppelin – ‘Communication Breakdown’

Yet another Jimmy Page face-melter makes our top 50. A fine example of a solo that builds in intensity as it progresses – right up until the dizzying widdly-widdly-WAAARGH climax.

14 Oasis – ‘Live Forever’

Inspired by The Rolling Stones’ ‘Shine A Light’, Noel’s optimistic ode to youthful joie de vivre punched a ray of light into Britpop. His guitar solo was appropriately uplifting, popping up as it did after brother Liam’s immortal “You and I, we’re gonna live forever,” line.

13 The Rolling Stones – ‘Sympathy For The Devil’

Jagger’s indie disco staple gets made umpteen times more awesome two and a half minutes in when Richards seemingly strangles his instrument around the neck. Less a solo than a series of notes wrung out of a squealing victim, this one is short, sharp and a sensual shock to the system.

12 Neil Young – ‘Hey Hey My My’

Neil Young’s another of those guitar torturers, and the screeches he coaxes out of his long-suffering musical companion sound delivered straight from hell. Think of it as guitar waterboarding: bad for the instrument, great for the local guitar shop, and wonderful for us listening at home.

11 Deep Purple – ‘Highway Star’

“As an eager 11-year-old classic rock fan I skipped school to go down to London and see Deep Purple an the Albert Hall. Throughout the performance an old Scottish man was being a total creep to my friend’s mum, and the band were about a thousand years old. Needless to say, I was disappointed, but the solo to this track has a life unto itself and it bends in all the right places.”

10 Pink Floyd – ‘Shine On you Crazy Diamond’

David Gilmour slows it right down to stoner-pleasing BPMs during the Floyd’s extended epic. As far removed from the intricate, manic shredding of some of these other solos, this is more introspective, more lethargic, a little self-indulgent, and utterly compelling for all those reasons.

9 Radiohead – ‘Paranoid Android’

“It’s like the ‘anti-solo’. Greenwood’s choice of texture and tonality is unlike anything else of its time. This solo was created in the mid 90’s when Radiohead’s nearest peers were still playing guitar solos using the same blues pentatonic scales that have dominated guitar solos since the start of rock music.”

8 Chuck Berry – ‘Johnny B. Goode’

“As far as guitar solos go, this song brought it all together for me. The myth is that he stole this guitar phrase from his piano player without giving him credit for years. All my favorite guitar players – Keith Richards, Johnny Thunders, Link Wray, Wilko Johnson, Nicke Royale – play this simple, catchy, and memorable guitar phrase in one form or another. It is easy to play, but of course no one can play it with the feeling Chuck Berry had. So all the young guitar players out there, before trying to tackle that Dragonforce song, make sure you can play this guitar solo and do the duck walk.

7 Radiohead – ‘The Bends’

A steaming juggernaut of 90s grungey guitar goodness. Producer John Leckie stacked Jonny Greenwood’s guitars 100 feet high. Greenwood saved his best chops for the solo however, which soared like the spirit of hope which was hovering above Thom Yorke’s outsider anthem.

6 Nirvana – ‘Smells Like Teen Spirit’

Although ‘…Teen Spirit’ is remembered for its chunky power chords, it’s actually Kurt’s skeletal solo that rubs together with his disaffected lyrics the best. A sour retread of the melody of the verses, Kurt makes his guitar sound as anguished as his lyrics were.

5 Muse – ‘Knights Of Cydonia’

Muse’s entire histrionic rock opera schtick might an exercise in more is more, but at the heart of some of their most bombastic moments lies Matt Bellamy’s fretwork. On ‘Knights…’, Bellamy uses his solo slot to unleash a rumbling piece of riffery, a frenetic solo that works as well in the spotlight as it does under his high pitched vocals, a kind of ‘Bohemian Rhapsody’ rock out they extend brilliantly live.

4 Rage Against The Machine – ‘Killing In The Name’

“Out of a list of greatest guitar solos ever, one of the most unique guitarists to be part of it would have to be Tom Morello. The solo in ‘Killing In The Name’ is a classic, it’s one of those pieces of music that will be stuck in my brain forever. Loads of trilling and whammy pedal make up the bulk of it and give it that uniqueness compared to a lot of other rock solos. Live he’s got loads of style and energy and yet he’s still so solid. Tom Morello is without a doubt one of my favourite guitarists of all time.”

3 Jimi Hendrix – ‘All Along The Watchtower’

Any number of Hendrix’s tracks could have hit the top ten, but the guitar work on his cover of the Dylan classic wins out for its sheer shape-shifting inventiveness. We all know Jimi could play a burning guitar behind his head with his eyes closed after enough spliffs to sedate a hardened stoner or whatever, but ‘Watchtower’ shows that even without any whistles and bells, Hendrix could pull out the kind of mind-altering melodies that others could barely dream of.

2 Led Zeppelin – ‘Stairway To Heaven’

So good, so monumentally epic and in-its-own-league briliant, it took a double necked guitar and one of history’s greatest axeman to execute it, Zeppelin’s calling card defines the solo. It should be a set text for budding guitarists, and in fact, it is. ‘Stairway’ is the highest selling piece of sheet music of all time. The key thing is, though, no-one in history has bettered the original.

1 Guns N’ Roses – ‘Sweet Child O’ Mine’

Slash’s solo is a masterclass in build-up, managing to get progressively more exciting with each pitch-perfect Les Paul squeal – the perfect foil for Axl Rose’s high pitched rawk squall. Not bad for a song that started life as a rehearsal room piss-about.

Electric guitars can be an expensive purchase to make, especially when the guitar is the really thing. In this day an age where quality outmatches the quantity, people want to own a guitar the legends have played, but they want it to be worth their while. That is why people should look into purchasing a replica electric guitar. Replica guitars give buyers the specifications they are looking for with every purchase. No matter if these specifications are big or small, buying a replica guitar can really be worth it. When buying a replica guitar, purchasers should look at a variety of elements from quality, sound and tuning, price, and style among other things. So, consider these important elements when purchasing your first replica guitar.

Buying Guide

Quality – Replica electric guitars can come with a bad reputation a lot of times because they are not the original guitar, so people automatically think they are not worth it. So, to clear up confusion, replicas are not fakes or knock-offs. This could not be further from the truth. Replica electric guitars are quality guitars that are worth looking in to. There are a lot of choices out their when it comes to replicas that are built correctly and appropriately with some of the best wood types around from phoenix wood to maple.

Sound and Tuning – Another way electric guitars are judged involves the sound that comes out of them and the way they stay in tune. There is no worse feeling when playing an electric than if the guitar, which was just tuned, needs to be tuned again. Replicas should still offer specifications that keep the instrument in tune. Other questions that should be asked when buying a replica electric include: What kind of pickups does the guitar have to magnify the sound and what strings create for the best lead-line improvisational sounds?

Price – The cost of a replica electric guitar is definitely more affordable than the real thing. Buying a replica guitar will save money in the long run, giving flexibility when buying other replica guitars down the road. Buyers can still find a great quality guitar in replicas that is hundreds and maybe even thousands of dollars cheaper. With replica electric guitars allowing for detailed specification work, they can be a great addition to any collection.

Style – Buying a replica electric guitar comes down to the different style options and the way each owner can customize their instrument. Choose from a variety of colors, a left or right-handed guitar, and different body types for each electric guitar, like hollow and semi-hollow build. The aesthetic appeal of a replica electric guitar really caters to a person’s personality, guitar interest, and more. Style is everything when buying a replica electric guitar.

As stated earlier, there are a variety of options to consider when buying a replica guitar. When classifying different replicas, check for guitars from a custom shop, guitars that are headless, PSR electric guitars, and PSE electric guitars.

Custom Shop

In the custom shop, look for guitars that some of the greatest guitarist have ever used like Prince, Buck Owens, and Kirk Hammett. The Diamond Series Prince Cloud Electric Guitar is very stylish with its glossy colors to choice from like blue, purple, dark blue, yellow, white, and sky blue. This solid-bodied electric guitar is great for playing in a variety of musical settings, while showing off its flare and flashiness. These replica electric guitars are made of quality wood, helping with an individual sound that is distinct and unique, making the sound as beautiful as the body of this guitar. Feedback is less prevalent with solid-body types like this replica option. Lastly, the Tune-O-Matic Style allows for adjustments on the strings of this guitar, within reason, to give you flexibility and freedom with this replica choice.

Headless Electric Guitars:

Headless Electric Guitars are not only stylish, but sleek instruments that bring about a futuristic appeal to any guitarist who uses this beauty. The 2017 Dark Blue Headless Top Custom Electric Guitar is one of the newest replicas to date. With wood types like rosewood, maple, and mahogany built into the design, this guitar was designed for guitarists to look outside the box of how an electric can be played. This option can be used to really wail on lead parts, or while blending in as an element of the band, too. With quality high tones, the manufacturers of this guitar got it right.

PSR Electric Guitars:

Looking for a multi-colored guitar that not only is beautiful, but also has an amazing sound? Buying a replica electric guitar just got easier with this next choice. Check out the 2013 PSR Al Dimeola Signature 10 Top & Birds Prism Electric Guitar. First off, the colors on this guitar really stand out, with a mix of shades that prove its opulence. With bass and treble humbuckers and a PSR Phase III Locking Tuner, the wonderful sounds coming from this guitar will stay in tune every time it is played. Speaking of style: the inlays have birds making this guitar even more unique than before.

PSE Electric Guitars:

A guitar that really stands out is the Kirk Hammett KH-2 M-II Karloff Mummy Electric Guitar. The graphic art helps sell this guitar. In terms of playing this guitar, the neck makes it easy to shred up and down. Notice that the frets are jumbo sized giving more room to get up and down the neck of this electric. Its pickups are made by EMG, which has been around for over four decades. The quick turnaround on this guitar will give the owner a chance to play it soon after purchase.

In the End, it's Up to You

Ultimately, picking an electric guitar that fits the style of its owner is imperative to finding enjoyment. Aesthetic appeal ranges from glossy bodies, solid vs. semi-hollow bodies, and unique designs that stand out when they are played up on stage. But, it really comes down to what the consumer wants and what they are looking to pay. Know there are a variety of options and buying a replica electric guitar has never been easier.

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/the-demon-ts808-is-straight-from-hell2017-08-15T15:44:00-04:002017-08-15T16:07:07-04:00The Demon TS808 is straight from hell.Chris Brown
Technology and incorporation of sophisticated circuitry into the building of musical instruments has opened up a whole new world of sonic possibilities for musicians and artists. Thanks to technology and this revolutionary circuitry, guitarists and other musicians can easily replicate the sounds they hear on other records and achieve various effects using instruments like the guitar pedal. From the subtle velvety sounds that soothe the ear to the outrageous rocky sounds that tingle the beast in you, guitar pedals have revolutionized the music industry.

For many guitarists, choosing the right guitar pedal proves to be hectic and tedious. There are so many options to choose from that landing the most appropriate guitar pedal for your musical endeavors feels so elusive. Unless you have been in the music industry for long enough and have sufficient information on effects pedals, it can be quite unnerving trying to shop for the most appropriate pedal for you. If you, like many others, are looking for a high quality and effective guitar effects pedal and are stranded, worry not because in this guide, we have provided useful insights on what to look out for when buying a guitar pedal and provided a review of one of the best effects pedal- The Vintage Demon TS808 Tube Screamer Overdrive Pro

When shopping for an appropriate effects pedal, you obviously want a high quality product that comes at a pocket-friendly cost. Besides these two superficial attributes, you need an effects pedal which warrants high performance and opens up the world of sonic possibilities. You need to consider the pedal’s ease of use, its portability and compatibility with your devices. There are other fundamental aspects such as the pedal’s ability to boost the signal generated and the scope of effects the pedal offers. You ideally want a pedal that is user friendly, adds a nice amount of gain, sustain and has quality tonal shaping options. If you are looking for such an effects pedal which comes at an affordable rate, then The Vintage Demon TS808 Tube Screamer Overdrive Pro should be your go to pedal. Here is a look at the famed pedal and reasons why you should look forward to making it part of your musical collection.

The Vintage Demon TS808 Tube Screamer Overdrive Pro

Whether you are a seasoned guitarist or a newbie looking to get started on using pedals to spice up your playing, there is no way you can’t fall in love with this effects pedal. This is the ultimate proof to the credence that simplicity is the ultimate form of sophistication. Although it looks plain and bland from the outside, this pedal’s sonic capabilities are on an unmatched level. The TS808 is a reincarnation of the famed tube screamer which debuted back in the 70’s and was elevated to legendary status by the late mercurial Steve Ray Vaughan. A lot of the love the pedal receives today is greatly attributed to its ability to seamlessly interact with an already overdriven amplifier- an aspect missing in majority of the earlier versions of stomp boxes manufactured. The Vintage Demon TS808 offers a huge spectrum of tones and each carries a certain distinctness which is satiating to the discerning musical ear.

Hardware

As earlier on mentioned, The Vintage Demon TS808 Tube Screamer Overdrive Pro is not the fanciest or most good looking pedal that you will come across. If anything, its shape and aesthetics leave a lot to be desired because it is very bland and basic. Despite is plainness, the knobs, switches and ports are carefully placed on the pedal to warrant easy switching between the TS9 and TS808 modes and balancing the various tone levels. The casing is made from a high quality material and will withstand the pressure of being stamped on. The design makes the pedal compact enough as well. This is ideal for mobility and packing in the guitar bags.

Performance and music prowess

Any musical instrument is judged not by its looks but the sonic output and as far as music is concerned, the Vintage Demon TS808 Tube Screamer Overdrive Pro is a force to reckon with. The pedal is capable of producing subtle and warm tones which are just about compressed and saturated in equal measure. These terms might make the pedal sound a little complicated but the sweet music it produces speak and define this gem themselves.

The Vintage Demon TS808 Tube Screamer Overdrive Pro is ideal for both the seasoned guitarists and the newbies who are just getting started on the use of pedals. It is compatible with virtually all electric guitars and is very easy to use. It offers a lot of versatility and gives you a leeway to experiment and try out new sounds and effects which you could only fantasize about before. The effects blend beautifully with the signals generated from whatever guitar you are playing from and the results are more than amazing.

Switching between the TS9 and TS808 modes is easy and quick as well. Although there is not much of a difference between the two modes, a seasoned artist who has been in the industry for long enough and has the discerning ears will tell you that there is more output in the TS9 than the TS808 mode. The discrepancy in volume and general output will depend on your playing and whether you are playing in a band or are solo.

The Vintage Demon TS808 Tube Screamer Overdrive Pro has the finest and most popular set of tone mods as well! The Keeley Plus Mod and the True Bypass Clarity and Fidelity. Depending on the music genre you are into, the mods have a varied level of bass response but both make the tone a little sweeter.

Affordable cost

For all its positive attributes and mercurial qualities, the Vintage Demon TS808 Tube Screamer Overdrive Pro comes at an astonishingly affordable cost. Here at Sunfield, we offer the pedal at just $49 and you really have no excuse not to own one of these masterpieces and take your music to the next level. Order the Vintage Demon TS808 Tube Screamer Overdrive Pro today and find out why it is rated so highly by the music experts. Order from Sunfield Music today and discover why thousands are making us their preferred online store.

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/the-sunfield-artist-series-srv-st-electric-guitar2017-06-03T00:54:00-04:002017-09-24T11:20:24-04:00The Sunfield Artist Series SRV ST Electric GuitarChris Brown
Scoring the perfect electric guitar sometimes needs more than just cash and expertise in the music industry. Sometimes, all it takes to land the perfect electric guitar, is just a little motivation from the legends of the music industry. Besides taking into account the economics and fundamental elements of the electric guitar, it is important to dig deep into the history books and find out what the legendary musicians and rock stars used in their work.

Though the legend passed on years ago, his music and spirit keeps gracing our ears and one particular guitar, is a monument befitting the man’s brilliance- the Sunfield SRV Artist Series ST Electric Guitar! This is a replica electric guitar which is quintessential of the legend himself and will give you personalized feel of what SRV felt plucking the strings. It retains the beautiful shape and feel of the unique guitars SRV was synonymous with, but injects a modern feel through the revolutionary modern musical technology. So, other than the fact that the SRV Artist Series ST Electric Guitar is inspired by the legend himself, what makes it special? Why is it being regarded by many as one of the best guitars under $500? Here is a deeper look at the basics and fundamental elements of the SRV Artist Series ST Electric Guitar to ascertain why it truly is special;Talking about legendary musicians and guitarists, it would be unfathomable not to mention SRV. The famed guitar slinger single handedly ignited the blues revival with his fiery guitars and electric stage presence. At a time when the love for blues was fading away, SRV injected a new fusion of blues which was just at the periphery of being categorized as rock and he became an instant sensation. He bridged the seemly large gap between blues and rock through his fancy guitar fingers and listening to his music albums, you can’t help but appreciate the prowess the man possessed.

Basic construction and aesthetics

SRV was a flashy man who loved beautiful well-finished unique guitars which were subtly glittery and made a statement on their own. In line with this, the SRV Artist Series ST Electric Guitar is built to uphold the legend’s love for beautiful guitars. The design of this guitar is therefore meticulous and intricately follows the blueprints used to design the legend’s guitars back then. Its solid alder body, rosewood fingerboard with dot inlays and maple neck, give this electric guitar a unique shape that will entice even the most seasoned of guitarists. The smooth edges and marvelous body projections are the perfect embodiment of a typical SRV guitar. The guitar is then afforded a nitro finish that renders the guitar sleek and beautiful to the eye. This is a guitar that will make a statement even before you start stroking its strings. Its ergonomic design and light material make it easy to carry the guitar and play for long without tiring. It is just 41” long and a 25.5 scale length. The 12” neck makes it easy to wrap your fingers around the guitar and play with ease. The aesthetics of this masterpiece are unparalleled to say the least.

Musical performance and functionality

However beautiful a guitar may be to the eye, if its sound doesn’t soothe the ear, it will always be considered as a waste of money. The SRV Artist Series ST Electric Guitar is built to produce the most beautiful, transcendental and fierce music just the way SRV would have loved. This is an instrument that has the blood of the legend flowing through its strings and you will only realize this if you get yourself one of these masterpieces and try them out. See, the electric guitar uses single coil pickups which as we all know offer more articulation and clean tones that are easy to the ear. The 5-position blade at the top of the neck makes it easy to switch between the pickups and hit the desired notes. It uses Grover tuners which are highly effective and easy to use for even novice guitarists. The other accessories such as the knobs, switch tip, and pick up covers are made from high quality material which renders them durable and effective enough. This is a musical masterpiece that will wow any audience and earn you a reputation.

Affordable Cost

A lot of replica electric guitars normally retail and incredibly high prices even though their functionality is just average. This however, is not the case with the SRV Artist Series ST Electric Guitar. The reason why this guitar has topped the charts as one of the best electric guitars in America, is because it offers a lot of functionality but retails at an incredibly low price. When you compare this guitar’s performance and its price tag, you can’t help but appreciate how much of a bargain it truly is. For just $295.95, you can own one of these masterpieces and bring out your inner SRV. Yes, this guitar will make you that good because it is easy to play and its sound is incredible.

If you are looking for the perfect electric guitar which serve you diligently and make you look legendary, then look no further than the SRV Artist Series ST Electric Guitar. This quality and durable SRV replica will quench your thirst for classic electric guitar without necessarily spending too much. Order one from us at Sunfield today and get it customized to whatever standard that you want. We can customize the color, hardware and even engrave a logo just to make sure that you have the perfect electric guitar to suit your lifestyle and playing style. Contact us today and talk to us about your needs and we will provide more information on the SRV Artist Series ST Electric Guitar and many other guitars.

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/easy-tunes-with-the-sunfield-great-guitar-tuner2017-05-27T21:35:00-04:002017-06-27T17:26:41-04:00Easy "Tunes" with the Sunfield Great Guitar TunerBhoomika G

A lot of upcoming and even established guitarist often overlook the importance of tuning their guitars and this ends up costing them at some point in their musical careers. Making it a habit to tune your guitar during practice and right before performances yields in better sounds and make it enjoyable playing the guitar. Properly tuning your guitar, means that even the most fretted chord combinations will be more than pleasant to the ear even if they are slightly out of their intended intervals.

There are quite a number of ways of tuning guitars available today but none is quite as effective as using an electronic tuner. Thanks to technology and brilliant innovation, tuners are replacing the other tedious and somewhat older guitar tuning methods because they are easier to use and have produce more accurate results. An electronic tuner works by detecting and displaying the pitch of the musical notes played on the connected guitar. They precisely indicate when the pitch is lower, higher or same as the pitch desired. Tuners have made it easier for musicians to tune guitars such as electric guitars and the bass guitar which are quite difficult to tune using the other traditional methods. It is therefore imperative for upcoming guitarists and professionals to invest in a quality tuner, to help them in their daily musical endeavors.

When choosing a tuner for your electric and bass guitar, you want a tuner that is easy to use, provides accurate feedback, is durable and comes at an affordable rate. You want a tuner that has a sleek design, incorporates modern technology in its functioning and is portable. If you are looking for a tuner for electric and bass guitars with such qualities, then look no further than the Sunfield Great Guitar Tuner.

The Sunfield Great Guitar Tuner is a modern tuner designed to tune electric and bass guitars with brilliant results guaranteed. The Sunfield Great Guitar Tuner boasts of a sleek delicate design, is highly portable and is extremely easy to use. Its functionality is simply unparalleled because I don’t think there is a tuner that quite matches the accuracy and performance that the Sunfield Great Guitar Tuner offers.

A lot of time and research went into the design and development of the Sunfield Great Guitar Tuner and the results are more than just brilliant. The tuner is a result of merging advanced modern technology with a delicate design befitting any modern day guitarist. With a large tuning range, high accuracy levels, high sensitivity, meticulous calibration and a revolutionary clear FND screen, nothing can quite go wrong with this masterpiece. The compact design and light material used in the construction of this tuner means that it is very light and sizeable making it easy to pack and carry around.

For all its attributes, the Sunfield Great Guitar Tuner is a bargain at just $37.45. See, most of the other tuners with almost similar characteristics retail and much high prices. If you are a guitarist who is mindful of quality and does not want to break bank, you need to purchase this tuner today. Just like the case with all our products, quality is never in question. Purchase the Sunfield Great Guitar Tuner today and get yourself a tuner that will offer excellent service for a very long time.

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https://www.sunfieldmusic.com/blogs/the-guitar-sun/why-the-irigit-guitar-link-is-now-a-thing2017-05-25T20:15:00-04:002017-06-02T12:33:22-04:00Why the iRigit Guitar Link is now a "thing".Jim Horton

The iRigit Guitar link audio system interface is a system that allows guitar players to use their devices to play and record with apps like Apple’s GarageBand. The device is one of newest technologies that has revolutionized the world's best amp sounds for phones such as iPhones. The product comes with special features such as the adjustable input gain, a 1/4" amplifier output and cross-platform compatibility. This three features have revolutionized the way users can make music while on the go. The iRigit's Plug makes it easy for players to use their mobile phones to practice guitar with the help of IK's AmpliTube. Basically, the iRigit creates a linked audio system interface that connects guitars with phones through the use of applications.

The invention of this plugs comes in handy to all those guitar players who seek for a device that completes the interface between guitar and mobile devices. Mobile users can now play and practice guitar with the help of amplified sounds for phones like Androids. The IRigit's plug is the answer to all those who seek to make top notch reproduction.

When one wants to record and play with their iPad, one has to create a link between the iRigit Guitar link audio system interface and the iPad. The iRigit Guitar link audio system interface is basically something that connects the guitar to your device via a piece of physical hardware. iRigit interface links your electric guitar to all variations of smartphones. As far as guitar interfaces go, the iRigit Guitar link audio system interface is refreshingly easy to use. The Guitar Link minimizes head scratching. The Plug allows mobile users to record and play the applications in their phones through a plug. One can connect the plug directly to your phone in order to record and play directly over the modeling amps and effects. The iRigit Guitar link audio system interface lets users to get started immediately, by simply hooking up and playing. By purchasing the iRigit Guitar link, your phone automatically becomes an ultimate working practice and play platform on which you can use brand new and vintage effects, in the studio as well as on stage. Any avid guitar collector can attest to the classic top notch tones reproduced by plug in of the iRigit interface.

A Revolutionary System

iRigit Guitar link audio system interface offers high sound quality and delivers more sound quality than what similar sounding units cost. The iRigit Guitar link audio system interface is an affordable guitar interface that connects your guitar to your amp apps. iRigit Guitar link audio system interface works as a high-quality guitar and bass interface for iPhone and iPad, also Android devices. It offers professional sound quality and makes it easy to connect to your favorite recording and performance apps on iOS devices. iRigit Guitar link audio system interface offers an 1/4-inch instrument preamp that has an adjustable gain. With this, it is possible to set the optimal level for your guitar. It also comes with digital converters that ensure a great sound quality when playing live.